- 150 Gessner Rd. 14E [HAR]
THE EASTER BUNNY AND THE TAXMAN COMETH It doesn’t look like there’s too much rain on the schedule for Tax Day this time around, but Swamplot’ll be off Monday anyway, shoring up any potential leaks. Enjoy your weekend, whether it’s filled with hunts for Easter eggs or for that basketful of missing W-2s, and we’ll see you back here on Tuesday for the regular real estate tomfoolery. Photo of Amanda Parer’s Intrude installation: Swamplot inbox
Shots of Orwellian wall ornamentation and conspiracy theorist headgear were turned up by a reader’s surveillance of the Bissonnet St. bus shelter east of Montrose Blvd. by the Museum of Fine Arts early Saturday morning. The setup looks like one of the series of bus shelter makeovers purportedly planned around town by a vigilante redecorator — though perhaps because of heightened citywide gag tolerance spurred by April Fool’s Day, this round seems to have significantly outlasted the pre-dawn tiki hutch installed in front of the Public Storage on W. Gray back in February.
Eyes on the scene sent a few further monitoring reports on the decorations throughout the day, including notes of edits to the display from various passer-bys:
Another shot of that crane that took to the air this weekend by the economy-stalled stub of Skanska’s Capitol Tower comes from a reader peering over the site’s parking structure from Rusk St. yesterday. (That’s the neighboring Chase Tower looming over the scene in the background.) Bank of America was outed as being in talks with Skanska about leasing space in the tower (which might add the bank’s current home in Bank of America Center to the list of recent abandonments of Downtown office towers by their namesake tenants). The other sign of life on the site this year was the addition of a street-level mural to the parking garage’s corner, which was dry in time for the Super Bowl last month:
The sculpted birds above are now staring intently in various directions from just south of the entrance ramp for the Rice Village’s rooftop parking lot between University Blvd. and Amherst St. The new bird-studded cage hangs around the upper half of the Kelvin St. access staircase for the lot, previously shielded from prying eyes by a since-removed blinder of brick (as pictured second above at the start of the work last year, before much of the paint-up or knock-out action had taken place on the eastern side of the structure). The birds are the work of Californian metalworker and periodic perched bird sculptor Nathan Mabry. Changes to the building roughly align with the older renderings of the remodel, though the space was previously depicted with an extra new window (along with some ghostly stand-in art):
Artist Ken Mazzu’s been back at the easel and back on the Houston demolition beat lately, finishing up some new works to be featured in next month’s building-themed art show at the William Reaves / Sarah Foltz Fine Art Gallery at 2143 Westheimer Rd.. The show will feature some of Mazzu’s paintings of ’round-town teardowns, along with works of 2 other Houston-focused artists (late photographer Jim Culberson and living painter Richard Stout). The gallery will even host Houston archi-historian Dr. Stephen Fox for a talk about The Changing City on the 14th.
Mazzu’s had a lot of subjects to choose from since a set of his demo-themed canvases went on display back in 2013; he sends over some previews of new pieces, including the scene above commemorating the disassembly of the former Downtown headquarters of the Houston Chronicle. Other recent works feature newly-parking-lotified 509 Louisiana St., the dissolution of the octagonal Solvay mid-rise, a pile of post-blow-up downtown Foley’s debris, and more:
The rendering up top shows the sort of scene that visitors can expect if they wander into the 1920’s leaking-water-reservoir-turned-public-art-space buried alongside Buffalo Bayou after December 10th (and before next June): Venezuelan artist Magdalena Fernández’s 2iPM009 projection, adapted from flat-walled origins to fill the 2-acre space (and going by the name Rain). As for what they’ll hear — that’d be an accompanying soundtrack of snaps, claps, and other meteorologically-inspired noisemaking from Slovenian choir Pertuum Jazzile. The original piece is part of the Museum of Fine Arts’s permanent collection; the adaptation will be the first temporary art installation in the column-studded space, which opened for tours in May.
The now-glimmering interior of the former house at 6822 Rowan Ln. in Sharpstown is open to the public as of this weekend, and will be for the next 2 months — up until the scheduled demolition of the heavily fire-damaged 3-bedroom structure. Demolition artists Dan Havel and Dean Ruck (who these days sign their work as Havel Ruck Projects) recently converted the condemned building into another tunnel-through-the-living-room-style temporary art piece, though with much sharper lines than their previous Inversion House. Last Saturday’s opening reception for the new place (which is actually called Sharp) is part of the October-November-straddling Sculpture Month Houston campaign (which is setting up promotional events for other art installations around town through November 19, if you’re interested).
The pentagonal hole in the front of the structure matches the outline of the knocked-out front windows, as seen in these pre-conversion-but-post-fire listing photos of the demo-bound house:
To cap off a series of Houston-landmark-linked performances carried out over the past few years, Karen Stoke’s dance company will put on bayou-and-space-themed DEEP: Seaspace at Hobby Center the weekend after next (that’s October 20th through 22nd). Stokes, whose previous work includes that well-timed dance about flooding in Discovery Green right after Memorial Day last year, tells Swamplot she has been mulling over appropriately grand Ship Channel choreographies since at least 2003, when she cut a related section from her piece Hometown with plans to tackle the topic later in greater depth.
On the list of historical places given a nod in the choreography (or in the short film to be shown during the live performance): Ship-Channel-side spots like the site of Santa Anna’s capture near the San Jacinto battlegrounds (the historical marker for which is located along Federal Rd. where the Washburn Tunnel crosses under the waterway); Allen’s Landing in Downtown; and the area around the former Willow St. Pump Station (just north of where White Oak Bayou meets Buffalo, by the Harris County Jail) — that spot is shown below, with dancers placed for atmosphere: